Nina G.

It has just occurred to me that two winners of "Young British Dancer of the Year" (James Hay 2006 and Yasmine Naghdi 2009) are dancing a pdd in "Polyphonia" on 12,14 and 23rd April. This must be the first time two YBDY winners dance a pdd on ROH stage!

Both young dancers are at the start of their career, and interestingly with a totally different training background: Yasmine was fully trained at the RBS and Beatriz has had American training (and a year at the Paris Ballet School if I am not wrong). Yes Dave, hopefully they won't have to constantly compete for the same roles! I saw Yasmine's performance in "The Dream"/ "Peaseblossom" and her capability of dancing "Ashton" so beautifully was obvious (as Silke H. says was evident when she won YBDY 2009). I personally love her English, lyrical and feminine style of dancing. I am afraid I can't commend on nor compare with Beatriz's "Polyphonia" performance as I haven't seen it. I think they are both stand-out Artists in their own way, with great potential. There are many dancers in the company I love to watch, there is so much talent in the RB, and every dancer contributes to making it into such a wonderful company. The RB's variety of dancers is so great and each one of them is unique but as in any other company there are always a few who do stand out!

I disagree with Ismene Brown as well. Knowing Liam is still so young, it's an amazing achievement. Given time, it will further develop into something truly amazing and lasting. I loved it and the cast was amazing! The dancers in "Carbon Life" gave it their all but CL is not something I'd watch a 2nd time. Annamak: "From the second cast at the rehearsal I have to say Yasmine Naghdi danced the girls solo exquisitely, she's a must see. I fully agree. Yasmine Naghdi (partnered with James Hay in "Polyphonia") really blew me away at the General yesterday with her exquisite dancing and her precise, wonderfully controlled technic. She "speaks" with her arms and the lines she creates are simply stunning (she had the same effect on me when I saw her dance McMillan's Concerto-2nd Movement in Birmingham, a few years ago). For a young dancer - who is "only" an Artist- she was in full command of the Stage. I couldn't take my eyes of her and I hope we soon get to see more of her. I'll be watching her cast again next week

The dancers I know used to wax when at vocational school and as a professional they all had laser treatment. Most were rather hairy (or what they perceived as being hairy) and had their back, arms, legs and bikini area treated for permanent hair removal.

The TBC male is David Trzensimiech. Finally! We have the full 2nd cast of "Polyphonia" (instead of "sitting" in the ROH waiting room for ages)

I am learning from your info Thank you John.

This cannot be the complete Carbon Life casting? There are 18 dancers in it.

John, as is mentioned in Post 19. The TBC female in the Sarah Lamb Polyphonia cast Is Yasmine Naghdi

Jellybeans: Seriously, though, only when you know the destinations of ALL students do ou get a true picture. Absolutely. Even more interesting would be to know how many are still dancing 2 or 3 years after graduating, after having "put up" with several short term or apprentice contracts, having lived abroad (Slovenia, Poland, Estonia just to name a few) not speaking the native language etc. Sure there are always a few who will adapt, but many don't.

Overheard at the Stage Door yesterday Yasmine Naghdi will be making her debut in "Polyphonia" alongside Sarah Lamb, Yuhui Choe and Samantha Raine

Thank you for letting me know Ribbons. Will read all previous posting next time!

So far we have gathered the "Carbon Life" casting (only 1 cast): Sarah Lamb, Steven McRae, Olivia Cowley, Ed Watson, Marianella Nunez, Claire Calvert and Yasmine Naghdi

http://www.nytimes.com/2012/03/30/arts/30iht-etoile30.html?pagewanted=2&_r=3&ref=arts .....and how about the Paris Opera Ballet? Here's some comparative reading.

Fascinating article by Lynn Seymour "Notes for the future". She offers some points of view for consideration by The Royal Ballet on p 35. "Dancing Times" - April Issue.

These are paid positions.

JulieW, contracts (same for any other non-ballet related contract) are usually on a six months trial base, after which -if the employer is satisfied -the contract may become permanent. I have heard this from many parents and graduates alike.

Every year, the Graduates are offered a six month (Apprentice) contract (with UK and foreign companies). It is extremely rare they are offered permanent contracts as soon as they graduate. Only the very best will get a Permanent Contract after six months, the other young dancers will be back "on the market" (no disrespect!) looking for a job again. That's how things roll with the graduate contracts. Edited spelling

Rowan mentioned on the RBS Topic the Comments on Luke Jenning's article are still going strong. http://www.guardian.co.uk/stage/2012/mar/25/will-they-make-royal-ballet#start-of-comments

You have very valid points but Luke's article IS about the White Lodge training.

The debate has gone very quite all of a sudden.... Has Bangerballetboy' s deleting a post anything to do with this?

http://www.guardian.co.uk/discussion/comment-permalink/15350212 I am really surprised to read this

or did you mean ones who've passed Soloist in the last decade (in which case that would barely include Ed)? Yes Lauren's rapid rise, if my memory serves me right, was rather pure "luck" in the sense that several other dancers who were down to dance that role were injured. Sure, she got the opportunity and grab it but if that hadn't happened I wonder how long it would have taken Lauren to get out. We can only guess.

The RBS trained students have a very solid technic BUT is that technic valued by the Company? As a Dance teacher I base my question on the fact that the RBS Graduates (the very few who were lucky enough to have been offered a contract) linger in the Corps for many years (and most stay there), only a few lucky ones will make it to First Artist after a couple of years, and it takes many another 7 or 8 years before they may finally become a Soloist. But if you look at the RB promotions over the past years it is very often the non-RBS trained dancer who gets promoted the fastest! Can one conclude the RBS technic is of no importance in order to make it through the ranks? The Japanese and Americans have a different technic seemingly far more advantageous - and valued - if one is to make it past the Corps, and faster. Correct me if I am wrong but for the past decade or so we only have Lauren,Rupert and Ed - as former RBS (White Lodgers) trained dancers- who have made it past Soloist level. It took them ages.

It does make one wonder why the British graduates are good enough for other companies but somehow not good enough for the upper ranks of the RB. That is indeed the question Mr Luke Jennings (and the British ballet going public!) is asking.

http://www.guardian.co.uk/discussion/comment-permalink/15337826 Interesting...